مقالات رزومه زهره طاهر

Symbolism is a cryptic and effective way of conveying meaning, handled by Iranian painters in different periods. During the Safavid period, the use of symbolic elements became more prominent with the recognition of the Shiite religion and the tendency of art workshops to portray mystical and religious themes. Among these workshops was the royal workshop of Prince Ibrahim Mirza in Mashhad, which is recognized both for its religious and cultural significance of Khorasan and for its illustration of magnificent manuscripts such as the Jami’s Haft Awrang. Ibrahim Mirza's Haft Awrang paintings are based on Jami’s stories and have different themes, such as the story of "Yusuf and Zuleykha" mentioned in the Qur’an and other books of the monotheistic religions, or the often told story of "Leily and Majnoon". It is reflected in Iranian literature and culture. The aim of this study is to comparatively examine the symbolism in the paintings of these two stories, to determine their relationship with the religious and cultural beliefs of this period, and to answer the following questions: 1. How were the culture and religious beliefs of the Safavid period reflected in the symbolism of the two stories? 2. What is the connection between the symbolism in the paintings of the two stories and religious and cultural beliefs of the Iranians during the Safavid era? The research method is comparative-analytical, and the information collection method is library research. We start with symbols classifications: One of the types of symbols classification is the placement of symbols into the type of human symbols and transcendent symbols, based on the theory of symbolism by Charles Chadwick (1996). "Human symbols" is a personal aspect of symbolism that can be considered the art of expressing thoughts and feelings by referring to how they are expressed by the artist; like a jar in Khayyam's poems. In this sense, it is the artist who brings a symbolic concept to the symbol and uses it in a certain sense in his works, and this requires the examination of all the works of an artist that are outside the scope of this study. But, in "transcendent symbolism" symbols are broad, general and ideally objective images of the world, of which the present world is only an incomplete representation, mystical symbols, and cultural symbols may be considered of this type. Transcendent religious symbols refer to religious content, and transcendental cultural symbols refer to literature and culture, and transcendent artistic symbols are derived from the principles of Iranian painting and elements of nature. We examine artistic symbols in two sub-categories of geometric and natural in 6 paintings of Haft Awrang. What can be deduced from the analysis of the research findings and the comparison of the two categories of painting is that the painters of Ibrahim Mirza’s Haft Awrang paid attention to the belief and culture of their period in the painting of religious and cultural content. The use of symbols such as the Ghezelbash Hat of the main characters of the story, Islimi, Greh, lotus, green and blue colors, mountain -tree, and the golden sky is in accordance with religious and cultural beliefs and principles. In response to the second question from the painting tradition of this period, despite the similarities in the use of some transcendent artistic symbols in both categories of painting originating from the Iranian painting tradition and originating from the seven principles of painting during the Safavids period, symbolism is different in the pantings of two stories. It is clear that in the Iranian painting tradition, symbols, like other nations, have a cultural and doctrinal basis, which is immortalized to express deep and cryptic concepts in the literature and culture of the nations. Therefore, the formation of principles based on this deep connection between religion and culture in the Iranian painting tradition has led to the use of some similar transcendent artistic symbols. As the winged angel and phoenix are combined symbols, rooted in the ancient myths of ancient Iran, and after Islam, under the influence of the common concepts of religions, the winged angel became a symbol for Gabriel and angels close to God, and phoenix found a sacred and spiritual role. Therefore, the painters paid attention to the religious and cultural context of the story in symbolism, and used symbols accordingly in their paintings. Despite the influence of religion and culture on each other and the art of the Safavid period, it can be said that some mythological symbols such as phoenix and dragon from the rich culture of ancient Iran remained strong and alive. The painters also used symbols like Lutus, Greh, etc. and they became the common ground and basic principles of Iranian painting. Some symbols such as the winged angel and the phoenix, retained their mythological forms, but took on a religious color and were used in a new sense.

Sasanian art is an original and progressive art that includes a coherent set of images in different scales, from depictions on stone reliefs to depictions of small and large metal vessels in various forms. In the metal containers of this period, various depictions including different themes and traditions are manifested. Many studies have been done on these dishes, but the narrative field of depiction in them has not been studied so far. However, the narratives depicted on the metal vessels of this period are very important from the literary, historical and religious point of view and provide important and practical documents in describing the cultural, religious and historical conditions of that period. Therefore, with a new look, these questions are raised that what narratives and themes do the depictions in Sassanian metal containers contain? And what is the relationship between these traditions and the literary, historical and religious texts of the Sassanian period? Also, investigating the traditions and themes engraved on Sassanian metal vessels and discovering the traditions hidden in them is the aim of this research. The research method is descriptive-analytical and the method of collecting library information. By placing the illustrations on the metal vessels of this period in three categories of literary narratives and themes, historical narratives and themes, and religious narratives and themes and analyzing the findings from it, it can be said that the literary narratives and themes in works such as the story of Bahram and Azadeh, Tree Asurig, Yadgar Zariran and Panche Tantre have been considered in depicting literary themes on Sassanid metal vessels Also, the narratives of bravery and warfare of the Sassanid kings can be seen both in books such as Ardeshir Babakan's workbook and in the metal vessels of this period in the form of illustrations of the hunting and bravery narratives of the Sassanian kings. Finally, the narratives and religious themes in the book of Avesta and Bandheshen have been taken into consideration in the illustration of Sassanian metal vessels, including the illustration of the narratives related to the goddesses and their supernatural powers, the story of creation and other religious topics.

Harpy is a composite form whose roots are in the mythological vision of early civilizations. The first entered Iranian art as a human bird through the Urartian art, and later gained sacred meanings in Elam and Assyrian art, and with the arrival of Islam in Iran, it appears in a new form in the art of the Seljuk period. As Persian art took its form from its rich ancient sources and added Islamic concepts to it, the Harpy form also can have hidden roots in Turk mythology. In addition, in the Orkhon inscriptions, we encounter a legend that was the mother goddess and was worshiped by the Oghuz Turks and was referred to as "Umay Ana" which has similarities with the form of the Harpy in Seljuk art. By examining the features of this myth in ancient Turkish mythology, examining the evidence that the Oghuz Turks, who are the ancestors of the Seljuks, worshiped this goddess and the emergence of this new form of harpy in the art of this period, we can ask this question: what is the relationship between this new form and Turk ancient myths? The second question is what is the relationship between the formal features of the harpy in Iranian and Turkish art, considering the geographical borders expanding in the Seljuk period? The aim of this study is to investigate Turkish mythology and its relationship with the emergence of the new harpy form in Seljuk art, and to examine the similarities and differences between the form of the harpy in Persian and Turkish art. The method of this research is comparative-analytical. The findings of the study show that there are many similarities in the visual characteristics of the form of the harpy in Iranian and Turkish artworks, which largely overlap with the mythological features of the goddess "Umay Ana" in Turkish mythology. Thus, we can conclude that the new harpy form can be used in Iranian and Turkish art to evoke Homay, who in Turkish mythology has become the face of the goddess Umay and the way she uses her power. In fact, such a similarity in the use of the harpy form between the artists of the two countries with the Seljuk domination in Iran and the expansion of its geographical borders to the eastern half of Turkey is not beyond reason and can certainly be seen in the art of later periods. The point is, there is still a slight difference between artworks of both countries in the use of the harpy form with a dragon and fish in Turkish sculptures and tiles. This may be due to differences in the mythological features of the goddess Umay Ana or other Turkish myths that are uncertain situations that warrant further investigation. However, since the goddess Umay Ana has a special place among Turks of other countries, it is possible that it was associated with features and reflected in Turkish art. It is hoped that further research in this area will help resolve existing uncertainties.

Iranian literature and painting have a deep connection, especially during the Safavid period, Iranian painters created magnificently illustrated manuscripts such as Shah Tahmaseb's Khamseh and Ibrahim Mirza's Haft Awrang. The painters of the Second Tabriz School and the Mashhad School painted these two valuable manuscripts in H. 946-950 (1539-1543 AD) and H. 963-973 (1556-1566 AD). Therefore, a comparative study of these paintings can yield valuable information from both schools. For this purpose, we chose two paintings named "Majnoon Coming to Lily's Tent" among 17 paintings of Shah Tahmaseb's Khamseh and "Majnoon Approaching Lily's Caravan" among 28 paintings of Ibrahim Mirza's Haft Awrang and studied the use of color according to Itten's color theory in these paintings. This theory examines color aesthetics from the three visual, emotional, and symbolic aspects. Colors have a transcendent aspect in Iranian painting. Each color has its own allegory and there is a relationship between each color and sensations of man and the soul. The color in Iranian painting, instead of imitating the natural colors, reflects an extraterrestrial reality outside the world of the senses. Correct knowledge and understanding about color combinations and the right choice of each color express the symbolic meaning of colors and their interaction in the human psyche. For example, the colors green, yellow, blue, and red in Persian painting not only reflect the visual and sensory beauty of the color but also the deep and symbolic meanings behind these colors, which are known and used by Iranian painters very well. Based on the views of Muslim thinkers, green is a sign of goodness and a symbol of life, a blend of knowledge and belief, a soothing color, a harbinger of peace and freshness, a perseverance expression and determination. Green is also a symbol of faith and belief, and resurrection in religion. Blue creates a kind of inner judgment in people and makes them think about themselves and their feelings. Blue is the color of the cape of the Sufis who were at the beginning of the moral path. Sky blue symbolizes God's kingdom and infinite mercy. Azure blue represents the expanse of the calm sky on clear mornings, while red is a sign of knowledge and wisdom. To our knowledge, there is little research comparing the use of color in the two major schools of painting: the Second Tabriz School and the Mashhad School. It is also important to learn more and more about Iranian literary and painting works, especially during the Safavid period, not only because of their literary and artistic merits but also to recognize the background of Iranian culture and identity. Therefore, we aim to compare the use of color in two selected paintings from visual, emotional, and symbolic perspectives. The main question is: How the colors are used in the two paintings according to Itten's color theory? The research hypothesis is that there are probably visual, emotional, and symbolic differences in the use of color between the two paintings. The research method is comparative-analytical. The statistical population of this work are taken from Ibrahim Mirza’s Haft Awrang in the Freer Washington Gallery and Khamseh Shah Tahmaseb in the British Museum. We used Itten color theory to analyze the data and studied the color use method visually, emotionally, and symbolically. Johannes Itten (2009) presented the color theory in a book called The Art of Color. In this book, he deals with the scientific and practical issues of color and believes: "It is the color of life. Because the world without color appears dead. Light creates color, just as light creates a flame. Like the tone of voice. It gives color and shines to words, color conveys a spiritual sound in form." (Itten, 2009). Itten theory examines color aesthetics in three ways: an impression (visual), expression (emotional), and construction. Impression of color focuses more on the manifestations of color in the nature. Color expression examines the mental and emotional values ​​that color expresses, and finally, it examines the symbolic meaning of color in construction. To separate the colors and determine the share of each color in the picture, we used the software "Image color share recognition" (Jégou, 2013). It is important to note that the error rate is due to the quality and we can neglect the image's resolution due to the nature of this study. Because this error will not affect the results. The findings show that there is a clear visual difference and a more beautiful use of color in the colors of men's and women's clothing, tents and other components in the Mashhad School compared to the Tabriz II School, due to the use of more diverse, warmer and more beautiful, and brighter colors, beautiful color contrasts and closeness of complementary colors in Haft Awrang; whereas In Tabriz II School, cold, limited, quiet and cautious colors were used. On the other hand, the findings of this study show that these two paintings have semantic differences in terms of the emotional and symbolic use of color. The colors of Khamseh Tahmasebi's painting evoke a sense of serenity, knowledge, and kingship, but the colors in the Haft Awrang paintings are passionate and vibrant, delicate, and at the same time luxurious. In addition, while the symbolic use of color in Khamseh Tahmasebi describes the concept of love with spirituality, consciousness, kingship, and divinity, the symbolic use of color in Haft Awrang paintings evokes another meaning of the concept of love, poetic, glamorous, passionate and eager. The only similarity between the two paintings is the blue color of the frantic dress, a symbol of a young and humble seeker approaching Leily, reaching a stage of enthusiasm and immersion in which he only sees Leily. Overally, a comparative study of the two selected paintings based on Itten's color theory shows that there are obvious differences in the use of color in the two paintings; Tabriz and Mashhad. Despite the thematic convergence, there is a difference in meaning and content between these two paintings, because the love had different meanings for the two painters, and there was deference depending on the special social and religious atmosphere of the Tabriz workshop under the auspices of Shah Tahmasb and the Mashhad workshop under the auspices of Prince Ibrahim Mirza. In fact, the findings show that according to Itten color theory, despite the beauty of colorful visual effects in Haft Awrang and the use of warm, cheerful, and soft colors in Mashhad school, and also the cautious and private atmosphere of Tabriz workshop and school, emotionally and symbolically, we can see a better reflection of the deep and sublime meaning of love in Khamseh Tahmasebi's painting from Tabriz's second school rather than in Ibrahim Mirza's Haft Awrang from Mashhad school.

Worship of the mother goddess is one of the deepest beliefs in the minds of various nations and peoples throughout human history. Ancient civilizations such as the Iranians and the Turks have long had this religion and the beliefs and customs related to this myth still remain in the culture of these tribes; considering the closeness of the cultural and historical background of Iranians and Turks, a study on their mythology can  give us lots of information of the history and culture of both nations; Therefore, the aim of the present study is a comparative study of the mother goddess in Iranian and Turkish mythology and the main question is what is the relationship between the mother goddess in Iranian and Turkish mythology? The method of this research is comparative-analytical. Findings show that despite the differences in some aspects attributed to the Iranian and Turkish mother goddesses in the myths of the two nations, there are many important similarities between the concept and function of this myth among Iranians and Turks.

In each society, according to its beliefs and culture, the use of color in different aspects of life and daily activities of people is used with a different approach and reflects the spirit of that period. As the master Iranian writers and painters who used color as an effective tool in illustration, imagination and transmission of concepts and created unique works of literature and art in the history of Iran, their elements provide readability and understanding of the popular culture of that time. One of them is Jami’s HaftAwrang, which was illustrated in Mashhad book designing school during Safavid period and is known as Sultan Ibrahim Mirza’s HaftAwrang. Despite the importance of recognizing Iranian popular culture from literary and artistic remnants, it seems, so far, there isn’t any study has examined the use of color in the context of Iranian culture in these paintings. The question is: Which colors and elements in the paintings of Ibrahim Mirza’s HaftAwrang reflects the culture, public life and daily life of Iranians in the mid-seventeenth century in Safavid period? And what’s the relation between the use of color in paintings and the popular culture and daily life of courtiers, citizens, villagers, caravans and nomads at that time? The method of this research is historical-anthropological analysis and the method of collecting information is library-documentary.Findings show the use of color in these paintings, in addition to showing the quality of material elements such as clothing, tools (tools and handicrafts) and buildings, consistent with the popular culture and daily life of the Safavid period, it also expresses some of the behavioral and speech traditions of Iranian culture, in the court, urban, rural and nomadic classes in accordance with the space of the painting, but there is no distinction in the use of the color of the caravans.

One of the important aspects of the visual s tructure of Iranian painting is its decorative aspect, which has taken various forms in different schools and has been expressed in the Safavid period with the compilation of seven decorative principles of painting by Ahmad Mousa. These principles include Islimi, Khataie, Farangi, Niloofar, Abr, Waq, Bande Rumi (Greh Chini). It seems that no research has been done on the usage of these principles in the painting of Mashhad School, and since Ibrahim Mirza’s Haft Awrang is one of the magnificent manuscripts illus trated by Safavid painters in Mashhad, this s tudy can provide more information on the characteris tics of Mashhad school. Therefore, the main ques tion of the present s tudy is how the seven decorative principles of Iranian painting in the Safavid era were used in Ibrahim Mirza’s Haft Awrang? The aim is a comparative s tudy of the usage of Seven Decorative Principles of Iranian Painting in the paintings of Ibrahim Mirza’s Haft Awrang. The method of this research is descriptive-comparative and the method of data collection is library. Findings show that the principles of Khataie and Niloofar are used by all painters and in all paintings; in fact Khatai principle has been used to decorate the components of the painting and in golden, azure, red, blue, white and black colors. Niloofar principle has been widely used among Khatai motifs and in various colors. This process of using Niloofar Principle continued during the reign of Shah Abbas Safavid, but its name was changed to Shah Abbasi flower. Islimi Principle is used more in the facade tiles of the building and it is more of a golden color that is embossed on an azure and black background. Abr Principle which is of Chinese origin, is used in half of the paintings, and in mos t cases in black and white. Waq Principle, which is derived from the concept of the tree of life, is also used in mos t paintings, and this shows the adherence to the painting traditions of the pas t. While the usage of Farangi Principle is much less than other principles and is used only in the works of Sheikh Mohammad and Mirza Ali, and considering that almos t half of the paintings are attributed to these two painters, it s till has a low percentage of usage. In fact, after a period of decline, at the end of the Safavid period, Farangi Principle is used again in abundance and in the form of Farangisazi. Greh Principle is used in paintings based on the common architectural s tyle of the Safavid period. In fact, the painters of Haft Awrang have tried to be faithful to the decorative tradition of Iranian painting, which in addition to showing their skills in painting, can also be considered as a feature of their artwork. In addition, the different levels of usage of these principles and the emphasis on decorating many components of the paintings, can be considered as one of the features of Mashhad school book decoration, which of course needs more researches.KeywordsSafavid Art, Mashhad School of Book Decoration, Ibrahim Mirza’s Haft Awrang, Seven Decorative Principles of Painting.

The aim of this experimental, cross-sectional study was to investigate the effect of one session of moderate and heavy resistance exercise on the acute and delayed responses of leptin, insulin, cortisol, testosterone and 24-hour energy expenditure in healthy men. Thirteen healthy men (age 37.5yr, body mass index 26.40kg/m2, body fat 22.46%) randomly participated in three exercise groups, the moderate resistance exercise (MR, 3 sets × 10 repetitions at 70 % 1 repetition maximum (1RM)), the heavy resistance exercise (HR, 3 sets × 10 repetitions at 80 % 1RM) and the controls(C). Blood samples were taken (after overnight fasting) before and immediately after exercise and after 4 and 9 hours of recovery. Serum leptin, insulin, cortisol and testosterone concentrations were measured using ELISA methods. After adjusting for percentage changes of plasma volume, serum leptin reduced immediately after exercise and control sessions but returned to primary levels after 9 hours of recovery (p<0.05). Immediately after exercise and control sessions, serum cortisol and testosterone decreased and serum insulin increased. No significant change was seen in 24-hour energy expenditure after MR and HR protocols. To conclude there were no meaningful acute and delayed effects of moderate and heavy resistance exercise on serum leptin, insulin, cortisol, testosterone and 24- hour's energy expenditure in healthy men.

Appetite control affects food intake and obesity.The purpose of the present study was to evaluate the effects of moderate andheavy resistance exercise on appetite, food intake and energy expenditure inhealthy men. A cross-over research design was used and the studywas performed on a population of 13 male volunteers from employees ofSabzevar University in 3 group containing control, moderate resistance exercise(70-75% of one repetition maximum) and heavy resistance exercise (80-85% ofone repetition maximum) groups within 90 minutes and including 8 types ofmovement with 3 sets and 10 repetition. The food given to men before and onthe day of the exercises was similar. The appetite was recorded by appetitequestionnaire and norm (VAS) before, immediately after exercise, and 3 and 9hours after the exercise protocol. Food intake and energy expenditure wasrecorded by food intake and energy expenditure questionnaire before and on theday of the exercises. Data was analyzed using repeated measure ANOVA with asignificant level of p<0.05. Having the results collected, there were no significant changes inappetite and in the effects of moderate and heavy resistance exercise. Calorieintake showed an increase on protocol day rather than the previous day ofprotocol and immediately after protocol day returned to level of previous day ofprotocol. Energy expenditure showed an increase on protocol day rather than theprevious day of protocol and immediately after protocol day in resistanceexercise groups. The results of the study indicate that one session moderate andheavy resistance exercise had no significant effects on appetite due to imbalancein significant negative energy and due increase energy expenditure on protocolday rather than the previous day of protocol.